This artwork is in fact an Object. My intention is to offer the observer
a moment to introspection, since they do not resemble nothing of the real
world, such as a body. The observer, after giving up the search into
his/hers personal mental library, will be able to travel through the waves,
shapes, shadows, and colors of the works. Each of them have a quantity of
white, and a different color, and both colors will offer a different and
personal experience, lasting seconds or more.
part of my artwork, such as objects, prints, sculptures, and artist books, I
use very much the same main materials, which are corten, carbon and galvanized
steel, carborundum (sandpipe dust) and, depending on the case I add some other
important materials to the art work I am creating.
My Objects, I would like to present some thoughts:
TRANSCEND & PERCEIVE – The Transgression & Perception of the
rules forced upon us.
As it can be understood by the words of
philosophers, such as Georges Bataille, it is a characteristic of human beings,
the urge for transgression of the rules imposed on us, either by the social
group in which we are based on, or are obliged by, but even so, various rules
are imposed on us, conducting our behavior.
My Objects, also tread in the path of
transgression, subject also dealt by Bataille, as a way to search for joy in
life, common in oriental societies, as it is understood by the works of Michel
According to Bataille, we need a certain level
of transgression in order to escape from things around us, even if it lasts just
for a brief moment, so that we can then, be able to fall into a reverie. We
need to escape from our private Sacred world, falling directly into our Profane
- using Camille Paglia´s expression – darkness.
However, the fall into Bataille’s abyss, not
necessarily lead us to erotic images, but to ones that simply give us pleasure.
Therefore, we can deal either with figurative, or abstract images, or erudite
or popular music. What matters at most, is the individual sensation of
Regarding visual arts, and specifically contemporary
art, in which new artistic languages arose, the need to express ourselves using
abstract art is very strong, as it was seen by the early Movements, such as the
However, around the 60’s & 70’s, some
artists outstanded, creating - a then -, new language, called Objects.
Those Objects have the intent not to represent or connect to nothing
from the real world, like a sculpture that conducts our eyes through drawing the
lines of a human body, for example.
Although they were called Minimalists, none of
them accepted such arbitrary classification, since their artworks do not have
anything of minimal, specifically in its context:
simple forms are not complicated by dynamic or unstable arrangements, neither
it is added any decoration. They are resolutely abstract. And very literal: the
materials are not disguised or manipulated to seem something they are not. None
of these works are framed or placed in a pedestal” (BARCHELOR, 2017, P. 11)
*(Translated from the Portuguese version).
This artistic language was, primarily sustained by
the artworks of those artists, as well as by the written material that based
their ideas, strengthening even more, their artistic goals.
Thus, what matters in this specific artistic
language at the most, is the psychological mechanism brought by the artworks
that lead the observer to transgress from its state of Sacred, usually limited by its set of rules, directly into a state of
a Bataille’s abyss, and consequently, a visual delight.
Naturally, it will all depend, on one side, on
how this person is protected by those walls of rules, and on the other, on how
long – or deep - one is willing to maintain oneself in such abyss of Desecration
of one’s Sacred state.
With the very objective of conducting the
observer to transgress from this Sacred world, imposed by society or way of
life, I believe that, from the perspective of the fact that this person starts
to be touched by curiosity just by looking for something different, either in a
front window of an art gallery, or looking at the screen of a portable phone or
computer, it is already a step into a state of transgression.
And this transgression is, in fact, expected by
every artist. Agamben also teach us that this expected transgression was expected
even by the Catholic Church, in terms of continuing with the growth of its disciples´
families, by accepting – or be obliged to accept – sex. However, within the
walls of certain rules and conditions.
Therefore, it was always expected that we
transgress, in order to move forward, either by terms of procreation, either by
gaining knowledge by the experiences from the “aller et retour”.
Consequently, and hopefully, this person can,
through transgression, achieve a state of satisfaction, moving away from the
usual inertia, doubt, or whatever may be the reactions occurred in this
The Transcendence happens every time this person
is able to give a first step into Transgression. This is actually, also the
role of the artist.
In other words, the artist also transgresses
from his Sacred state of mind to be able to create something that also makes him
Transcend, by creating that “Aura” around his artwork, just like the way
he wishes his observer may do. The Perception at this point is also offered to
After the transgression and the consequent
transcendence, arises the above mentioned Perception, which happens when we
realize that we just entered in our particular Profane state of mind, and start
to capture everything that comes to our minds, either as a concrete or
subliminal information that arises in our conscious or subconscious, such as
the effect of a specific color in our minds. Synapses may take place from this
For example, each person will have a specific
reaction to a specific color, that, in its turn, will lead to immediate
connections and feelings that might be kept in one’s emotional memory, which only
in a state of similar satisfaction may be accessed.
The message brought by the artwork is passed on to
each one, individually, since everyone has his own history, perceptions,
desires, fantasies, sensibilities, and the path tread by one’s eyes in each
artwork is what will lead him or her to a specific destiny. A private one.
As another example, the effect of each color
will also send to one’s conscious or subconscious, a specific set of
information. And only to that very person. Just like a small secret revealed in
this person’s ear and belonging only to that very person.
Regarding my Objects, the amount of white, as
well as the amount of the other color found in each and separately piece, may offer
sensorial and personal experiences in one’s mind.
With the red, for example, it might be a bit interesting,
since it usually expresses a hot sensation, leading us to some reveries. Erotics
”(...) That a
specific quality, that a red surface means something, that it may be, for
example, understood as a stain on a background, this means that the red is no
longer just this hot color, experimented, lived, in which I loose myself into,
that it announce some other thing without withholding it, that exerts a role of
knowledge and its parts together compose a totality in which each of them
connects without abandon its place. (MERLEAU-PONTY, 2018, p. 36).*(Translated
from the Portuguese version.)
It is like a song. Each one of us has a personal
reaction – even if it is deeply stored in one´s mind – to a same music. Some may
love it, others hate it, and to others that specific song may say nothing at
all, and this is perfectly normal and comprehensible.
However, the more we are open to outcrop our
sensibility, the more open we will be to comprehend whatever passes in front of
us, specifically when we are in front of an artwork that, at first, we do not
have any familiarity with, what-so-ever.
When facing a painting with just some scratches,
should we have our hearts and thoughts open and willing, we will be able to
understand what the artist is trying to tell us, since those lines are there
for a reason.
The creation of an artwork by an artist may be
with the intent to send a message or protest, and that should be translated, however
may be the form of it, being visual, sensorial, by touch (should that be
possible). The possibilities are endless, and depend on each one, so that it
can be then understood. Free from preconception, censorship or tethers.
With the same goal as to offer these steps through
Transgression, Transcendence and Perception, I would like to present my Objects,
part of the series Transcendence & Perception.
In the same line of thought, I would like to
cite some words by Merleau-Ponty:
perception is a judgment, but that ignores its reasons, what means to say that
the perceived object is given as a hole and unit before we have apprehended its
intelligible law, and that originally the wax is not a flexible and mutable
extension. Stating that the common sense does not have “time to weight and
consider any judgement”, Descartes lead us to understand that, under the term
judgement, he understands as the creation of a sense of the perceived, which is
not previous to the own perception and seams to come out of it.” (MERLEAU-PONTY,
2018, p. 73). (Translated from the Portuguese version.)
Therefore, regarding Transgression,
Transcendence, and its consequent Perception, my intent is to offer ways, so
that the observer of my artworks can, just like me, make this transition at his
or hers own pace and limits (or without them), as well as to the natural and
consequent return to their Sacred world or state of mind.
However, I believe that once this path is made
towards Transgression (regardless of its depth), our “selves” do not
return untouched, since new perceptions may have been experimented, and ready
for a future delight. Voluntary or not.
This state of perception and change may be
spiritual, sensitive, visual, erotic, and it occurs every time one decides to
tread this path. A “no return” path.
Just like the lyrics of the song Hotel
California, by the Eagles, that deals with transgression, the fall
into one´s abyss, and the sureness that there is no return:
They gathered for the feast
They stab it with their steely knives
But they just can't kill the beast
Last thing I remember
I was running for the door
I had to find the passage back
To the place I was before
Relax, said the night man
We are programmed to receive
You can check out any time you like
But you can never leave!
AGAMBEN, Giorgio, L´uso dei corpi
L´Histoire de la Sexualité I, II& III
Maurice, Phénomenologie de la Perception
Paglia, Camille, Free Women Free Me. Sex-Gender-Feminism
This artwork can be found in my website at: